Lam Hung Pak Mei Athletic Association of Minnesota

Simon Lui Kung Fu Physical Institute

www.pakmeiassociation.com
E-Mail : pakmeiassociation@gmail.com
Volume # 1 & 2

眉 直步拳 & 十字拳 白

需 若
從 要
直 入
步 門
下 尋
功 此
夫 技

“In order to join this art, one must start with Jik Bo.”
 Pak Mei Lineage of Past Ancestors

白
眉
歷
代
林 吳 張 祖 白 廣 竺法
雄 耀 禮 先 眉 慧 雲
泉 祖 道 禪 禪
位 人 師 師

Lam Ng Cheung   Pak Mei Gwong Juk

Hung Yiu Lai Wai Faat
Chuen Wan
6th 5th 4th   1st 2nd 3rd
Generation Generation Generation Generation Generation Generation
History of The Pak Mei Clan

The martial arts of the Pak Mei Clan originated from the Shaolin Buddish Monastery, Sung
Shan, Henan Province, China, Buddish Monk Pak Mei, the eldest of the five elders of Shaolin
in the Ching Dynasty was regarded as the first generation of the Pak Mei Clan, the Pak Mei
Martial Arts were passed from Buddish Monk Pak Mei to Buddish Monk Kwong Wai who was
regarded as the second generation, from Buddish Monk Kwong Wai to Buddish Monk Chuk Fai
Wan who was regarded as the third generation, from Buddish Monk Chuk Fat Wan to Great
Grand Grand Master Cheung Lai Chuen who was regarded as belonging to the fourth
generation and from Great Grand Grant Master Cheung Lai Chuen to his son Cheung Ping Lam
who was regarded as belonging to the fifth generation. The first, second and third generations of
the Pak Mei Clan were all Buddish Monks. The Pak Mei Martial Arts did not spread to the
secular world until they had been passed to Great Grand Grand Master Cheung Lai Chuen.

The first person to spread wildly and brilliantly of the Pak Mei Martial Arts in the secular world
was Great Grand Grand Master Cheung Lai Chuen who was born during the reign of Emperor
Kwong Shui at the end of the Ching Dynasty in Weiyang District, Dong Jiang, Guangdong
Province, China. He commenced to learn martial arts at the age about Thirteen years and
learned three different styles of martial arts in the Dong Jiang area from three famous Kung Fu
masters who were Master Shek, Master Lee Yee and Master Lam Ah Hop, the disciple of
Buddish Monk Yuk Shing of the Wah Sou Buddish Monastery, Law Fau Shan, Guangdong
Province, China. All the three famous Master praised him and indicated that he should establish
his own gymnasium to teach students. As Great Grand Grand Master was still young at the time,
he preferred not to teach martial arts but went to Guangzhou for good at about the age of
nineteen years. In Guangzhou he accidentally got to know a Buddish Monk called Lin Sang and
had the chance of having a friendly combat with Monk Lin Sang. Who then defeated him. Great
Grand Grand Master humbly requested Monk Lin Sang to accept him as a disciple, but he was
refused.

Later he learned from Monk Lin Sang that the martial arts used to defeat him had been passed
to Monk Lin Sang by Buddish Monk Chuk Fat Wan and both Monks toured about in the
Guangdong Province from the Sichuan Province and were then staying in the Kwong Hau
Buddish Monastery, Guangzhou, Monk Lin Sang brought Great Grand Grand Master to the
Monastery and introduced him to Monk Chuk Fat Wan who finally accepted Great Grand Grand
Master as his disciple to learn the Pak Mei Martial Arts after having begged lengthily for it,
thereafter Great Grand Grand Master followed Monk Chuk Fat Wan to tour about, learn and
practice the Pak Mei Martial Arts. After two odd years of hard learning and practice and an
account of Great Grand Grand Master‟s talent in understanding martial arts, Great Grand Grand
Master learned all the Pak Mei Martial Arts except the technique gravel shooting and obtained
their vitalities. Then Monk Chuk Fat Wan and Monk Lin Sang returned to their Buddish
Monastery in the Sichuan Province and Great Grand Grand Master returned to Weizhou to join
his mother.
Thereafter Great Grand Grand Master joined the revolutionary team of Wong War Shun against
the Ching Dynasty in Dong Jiang area and took part in the revolutionary battle in Wong Fat
Kong of Guangzhou. The revolutionists were defeated heavily and most of them lost their lives,
Great Grand Grand Master was fortunate for not being killed and he escaped from Gangzhou to
his native place.
After the establishment of the Republic of China, in Jiang Men Town of the Sun Wui District,
Great Grand Grand Master aided Detective Captain Lui Chan to confront a leader of the salt
smugglers, Great Grand Grand Master fight with the leader who was highly proficient in Kung
Fu, broke the Leader‟s arm and arrested him for the Captain. As a result Great Grand Grand
Master got his prestige in the Sun Wui District and started his teaching of martial art in Jiang
Men Town. In Jiang Men Town Great Grand Grand Master accepted the challenge of Kung Fu
Master Chan Sau who had defeated several Kung Fu masters in Jiang Men Town and won him,
thus Great Grand Grand Master was further praised by the martial arts community there. Later
Great Grand Grand Master tried to solve some problems for one of his students and was forced
to involve in a fight confronting more than fifty bad characters, during the fight he knocked
down several persons, it was heard that one of them had been punched by him with his phoenix
eye fist at the throat and died of the injury. To avoid trouble Great Grand Grand Master was
forced to leave Jiang Men Town for Guangzhou.
In Guangzhou Great Grand Grand Master set up his Kung Fu school to teach Pak Mei Martial
Arts again at On Wide Lane, during which time Great Grand Grand Master defeated Kung Fu
Master Tsang Wai Pok who had closed several Kung Fu schools in Guangzhou by overcoming
the masters thereof. Great Grand Grand Master‟s victory shocked the martial arts community
there and gained his prestige in Guangzhou. A lot of students followed him to learn the Pak Mei
Martial Arts causing the jealousy of some of the Fung Fu masters. Ultimately while Great Grand
Grand Master was carrying his infant son and walking along a street, a group of seven to eight
assassins tried to kill him with knives and guns. Great Grand Grand Master knocked down
several of them and took one of them as his shield, it was fortunate that the policemen were
accidentally nearby to give assistance and arrested those being knocked down. The incidence
was widely reported by the newspapers in Guangzhou and honored Great Grand Grand Master
with the title of “The Fierce Tiger of Tung Kong” which made him well know in Guangzhou.
Thereafter Great Grand Grand Master was employed by the Guangzhou Police Training School,
the Yin Tong College and the Whampoa Military College one after the other as their martial arts
training officer. During his employment in the Whampoa Military College he established a set of
technique for fighting by using the rifle fixed with the knife and was responsible for training the
famous by saber team apart from performing other duties. Many military officers also personally
became his disciples in learning the Pak Mei Martial Arts, such as the Security Commander of
the Guangdong Province, General Wai Chun Fook and Colonel Liu Chun Yat who died for China
in the Nanking Battle against the Japanese army During the war against the Japanese Great
Grand Grand Master was employed as the martial arts trainer of the guerilla band of Leung Kwai
Ping in Dong Jiang area. After the war he was employed as the martial arts training officer of the
Secret Agents Department in the Guangdong Province.
When Guangzhou was about to be liberated, for being a military officer of the Republic of China
he brought with his three sons, Cheung Ping Sum, Cheung Ping Lam and Cheung Ping Fat to
migrate to Hong Kong, then some of his disciples also came to Hong Kong. It was from that
time onward the Pak Mei Martial Arts were formally brought to Hong Kong and starting to be
spread in Hong Kong Great Grand Grand Master passed away in Hong Kong at the age of eighty
odd years in 1964. During his time in Hong Kong he only taught about twenty odd disciples, but
it has now been developed that members of the Pak Mei Clan can be found in many parts of the
world and the Pak Mei Martial Arts may have been passed on to the ninth generation nowadays.
Great Grand Grand Master combated with many Kung Fu masters during his lifetime and
defeated all of them. Many of his opponents admired the Pak Mei Martial Arts after their failure
and became his disciples such as Master Chan Sau and master Tsang Wai Pok aforesaid, and
Great Grand Grand Master was very willing to pass the Pak Mei Martial Arts to them.
After the death of the Great Grand Grand Master, members of the fifth generation of the Pak
Mei Clan held meetings and elected his son Cheung Ping Lam as the Head of the Pak Mei Clan.
His son Cheung Ping Lam is the second son of the Great Grand Grand Master Cheung Lai
Chuen. Great Grand Grand Master taught his son Cheung Ping Lam the Pak Mei Martial Arts
since his childhood. Grand Master firstly performed martial arts in the Whampoa Military
College at the age of seven years and started to teach the Pak Mei Martial Arts at the age of
eighteen years. Amongst the disciples and sons of the Great Grand Grand Master, Master
Cheung Ping Lam is the one who spent the longest time to learn the Pak Mei Martial Arts from
the Great Grand Grand Master and research the Pak Mei Martial Arts with the Great Grand
Grand Master.

During the old age of the Great Grand Grand master in Hong Kong, Grand Master usually stayed
by his side to make research of martial arts with him and taught for and on behalf of the Great
Grand Master some of his disciples the Pak Mei Martial Arts. Master Cheung Ping Lam has
devoted all his lifetime to martial arts and obtained all the vitalities and importance of the Pak
Mei Martial Arts. He has taken up the teaching of the Pak Mei Martial Arts as his life career and
frequently teaches the members of the fifth and sixth generations of the Pak Mei Clan the Pak
Mei Martial Arts for the purpose of promoting them to the higher level. Thus Cheung Ping Lam
was elected as the Head of the Pak Mei Clan an account of his doings and prestige. He has
selected to teach good quality disciples of a smaller number rather than bad quality students of a
larger number and teaches his selected disciples of all known by him without reserve. In 1999
Master has attained the age of seventy-three years.

In order to show respect and gratefulness to Master Cheung Ping Lam, several of his disciples
gathered a sum of money to purchase a landed property of about 1,300 square feet situated at
Tsimshatsui, Kowloon, Hong Kong in 1986 for Master to have a permanent place of teaching
and in February, 1988 they also established the Pak Mei Lai Chuen Martial Arts Association
Limited. The members of the Association are the disciples of Master Cheung Ping Lam within
the past fifteen years, each of them has decent job and is without undesirable background.
Amongst them, there are accountant, lawyer, police superintendent, police chief inspector, civil
servant, manufacturer, merchant, executive and artist, and Master Cheung Ping Lam is the
permanent governor of the Association. At present there are only left surviving several members
of the fifth generation and even the youngest one has attained the age of sixty-nine years.
 張 宗 師 禮 泉 簡 介
張宗師禮泉是白眉派第四代掌門,他生於一八八二年, 終年一九六四年,享年八十二歲.
張宗師一生從事於武學,曾拜三位知名武師學藝,機緣巧合,最後得拜竹法雲禪師學習白眉
三術,並覺得此派功夫非同凡響,於是專心鍜煉,以身為白眉派傳人為榮.但對初學之三位
師傅亦未敢忘恩,選其所傳之最好武術納入教科中,保留原有之招式,但身,手,腰,馬及發
勁方面則以白眉的基本拳理加以適當的改良.故此白眉派之拳術,有其正宗的“ 直步 ”
“ 九步推 ”“ 十八摩橋 ”及“ 猛虎出林 ”亦有李蒙師傅所傳的“ 三門拳 ”林石
師傅所傳的“ 十字拳 ”“ 地煞 ”及林亞俠師傅(博羅縣羅浮山華首店玉成大師之傅人)
所傳的“ 鷹爪黏橋 ”其後,張宗師更將各派之精要彚集,而創立一套“ 四門八卦 ”武
器方面亦以同一宗旨,有“ 大陣棍 ”“ 追魂柳葉刀 ”“ 回環雙拐 ”“ 青龍劍 ”
“ 飛鳳雙刀 ”“ 青龍偃月刀 ”“ 軟鞭 ”及“ 方天戟 ”,亦有採用源出於李家之
“ 五行中橺棍 ”,“東江火地的“ “ 三义大耙 ”及石師傅的“ 以花寶凳“ 為使學
者能融會貫通,在實踐練習方面,更編成了多套對拆套路,有“ 三攬 ””黐身 ”“ 拆
棍 ”及“ 空手入白方刃 ”使學者能由淺入浮地領會和運用.張宗師沒有把所學的各派
拳術武器套路冠以白眉某某拳,棍,凳及耙等名稱,反而道出其來源,可見他對“ 武術忠於
師承 ”之精神是絕對遵從的,是學武者的道典範.

Introduction 4th generation Pak Mei Master Cheung Lai Chuen.

Master Cheung Lai Chuen was the four generation of Pak Mei Kuen. He was born in 1882 and
died in 1964 at the age of 82. Cheung devoted himself to Kung Fu all his life. He had followed
three different masters( Li Meng, Lin Shi and Lin Yaxia ) Learning Kung-Fu before he met
Monk Chuk Fat Wan. Cheung Found that Pak Mei Kuen was very advanced and ececllent and he
began to study Pak Mei Kung-Fu Earnestly and diligently from Monk Chuk Fat Wan. He was
very proud of being the Successor o Pak Mei Kuen.
Although devoted himself to Pak Mei Kuen, Cheung still remembered his first three Teachers
very well. He selected the best of their Kung-Fu in his teaching. Cheung Reserved their forms,
and refined them by integrating the theories of Pak Mei in the Aspedts of body movements, hand
forms, waist, stand and strength exerting. The Original Pak Mei Kuen contained the set routines
of Jik Bo Kuen, Kau Bo Tui, Sap Bat Mor Kiu and Mang Foo Chut Lum. The routines also
contained Sam Moon Kuen imparted by Master Li Meng , Sap Jee Kuen and Dai Sak handed
down by Master Li Shi, as well as Ying Jau Nim Kiu passed down by Master Lin Yaxia.
Later Master Cheung Lai Chuen combined the essence of every style and created the set routine
of Sai Moon Bat Gwa. It was the same situation as for the weapons. There were Dai Jan Kwan,
Lau Yip Seung Doe, Wui Wan Seung Gwai, Ching Lung Kim, Fei Fung Seung Doe , Ching
Lung Yim Yue Doe, Fong Tin Gik and soft whip. It also contained Ny Hung Jong Lan Kwan
from Master Li Meng, Sam Cha Dai Pa, as well as Sin Fa Bo Dung from Master Lin Shi.
In order to make his disciples easier to master the Kung-Fu, Master Cheung created a number of
pair practicing set routines, such as Sam Lam, Chi Shen, Chai Kwan and Hong Sau Yap Ba Yen.
Master Cheung did not mark all the Kung-Fu he had learned with the name of “ Pak Mei “
Instead, he pointed out the origin of each set routine to memorize all his teachers. His respect to
his teachers and origin of Kung-Fu had set a good model for us.
 Introduction 5th generation Pak Mei Master Ng Yiu
Grand Master Ng Yiu constant practice of martial arts, he enjoys excellent health. At the old age,
his kung fu movements are still extremely brisk and powerful. In parallel to his superb mastery
of Pak Mei kung fu, his martial ethic is equally well known. He is highly respected as an
outstanding kung fu master in both the Pak Mei family and the general martial art circle in Hong
Kong.
He came from Nan Hoi district of Kwong Tung Province. At the age 15, he learned kung fu from
the great Grand Grand Master Cheung Lai- Chuen. He was tall and of sturdy build. Great Grand
Grand Master Cheung was deeply impressed by his loyalty and diligence in practicing. He gave
him constant encouragement and extra coaching in Pak Mei kung fu. A few years later, he
became Great Master Cheung‟s distinguished disciple.
He was soon appointed by the Great Grand Grand Master Cheung‟s to head the first branch of
the Lai-Chuen kung fu association at Kwei-tong street, Canton and to teach in the military
academy.
At that time, the Lai-chuen kung fu association of the Pak Mei school developed and expended
rapidly. There were 18 branches altogether in Canton. Many other kung fu were also competing
strongly for ground and reputation. One would find it extremely difficult to survive and establish
if without genuinely high standard in martial arts. Yet. With his sheer mastery of Pak Mei kung
fu, Grand Master Ng stood up to competition, understand. As a matter of fact, he was Great
Grand Grand Master Cheung‟s right hand man. Due to his achievement and establishment, he
was highly respected and so able to act as a trouble-shooter within the kung fu circle.
Throughout his career, he has been put into numerous tough and real tests. To mention a
few, the following were included.
In 1930 because of the political uncertainty, social order was very bad, the Long-beach area in
Canton, in particular, Travellers commuters and shopkeepers nearby were harassed by the
underworld based at the docks. It happened that one of Grand Master Ng students owned a shop
in the area. He was no exception and had to inform Grand Master Ng about the case. So, Grand
Master Ng went to negotiate with the gangsters. But, they were so unreasonable that they turned
out to attack him. The one in the front chopped at him with big chopper. As soon as he had
avoided the attack by retreating a step backward, he gave the attacker a lighting right side-kick
at his waist. The force was so powerful hat the thug tumbled and fell a few meters away.
Then another one came forward from the left. After the right side-kick, Grand Master Ng tilted
his body slightly to balance and then made a similar side-kick on the left. Again, the attacker fell
helplessly as he received the momentous impact. The rest fled. Social order improved
consequently in the Long-beach area. After this incident, Grand Master Ng became famous in
Canton. On the other hand, Pak Mei kung fu also became well known throughout the city. It
happens that the chained directional side-kick are just some of Pak Mei powerful leg
applications.
Hoping that harassments would then cease. However, this gave them a further boost in morale.
Thing did not improve, but worsened. In the end, the owner had to turn to Grand Master Ng for
help. The latter then went to the amusement park alone to settle the matter with the two tough
guys. He was immediately surrounded by the gangsters as he stepped into the park. Their leaders
came forward and grabbed Grand Master Ng‟s arms while the other were about to attack. He
realized that that to break through, he must apply the genuine techniques. So he first exerted a
powerful and sudden inward pull. The two guys were drawn off their balance, falling forward.
They were subsequently flung out by his forceful left-right lower outward blocks.

Having defeated the two leaders, he could then concentrate on the rest of the gangsters one by
one and got away. The story of this fight once again spread fast throughout Canton.
The city fell into Japanese hands soon after LouKouchiao ( Loo Chow Bridge ) Incident, in
1938.

Grand Master Ng was assisting Great Grand Grand Master Cheung to train the soldiers in the
military academy after having retreated. They taught charging techniques using rifles, and
trained the “big chopper Squad” Both were found useful and efficient on the battlefield. Toward
the end of the Sino-Japanese War. Grand Master Ng was appointed to work in the intelligence
division of the Commando Squad.

He had won a few awards for his outstanding achievements. He had also practiced the traditional
herbs treatments throughout the year.

The tragic war ended in 1945 after the Japanese surrendered. He returned to Canton and
restarted his business. In his spare time, he helped the Great Grand Grand Master Cheung to
develop the kung fu school. The latter was very proud of his remarkable achievements in martial
art and had therefore made known that he was his most distinguished disciple. He always
encouraged and reminded him to pursue the true spirit of chivalry and endurance.
In 1949, he followed the Great Grand Grand Master to Hong Kong. With his vast knowledge and
experience in medical herbs, he set up his clinic to practice herbs treatments on the Kowloon
side. As for the Great Master, he was invited by many village leaders from the new Territories to
set up school to teach martial art. Again, Grand Master Ng was very active in assisting to
develop and promote Pak Mei kung fu.
Three years later, a rather famous kung fu. instructor also came to Hong Kong from Canton. He
was agitated by someone with malicious intention to defame the Pak Mei school. He often
claimed that if you wanted to become famous, all you had to do was to defeat the Pak Mei
school. And, to defeat that school, you must first defeat Grand Master Ng. But, Great Grand
Grand Master Cheung took all these slanders with a smile. However, they got worse and
distasteful as they spread around. Grand Master Ng was infuriated. He had found out that
instructor used to lunch in a particular restaurant in Shum Shui Po. Having found him there,
Grand Master Ng questioned him about its truth and suggested a dual to determine superiority
between themselves.
Yet. That instructor was scared of Grand Master Ng‟s achievement in martial art and had to
apologies. Grand Master Ng accepted it and so a fight was avoided. After the death of the Great
Grand Grand Master, he became the leading veteran of the Pak Mei School.
A similar incident arose in 1954. At that time, he was responsible for the further developments of
Pak Mei kung fu, which was already prospering in Hong Kong. Another kung fu teacher intended
to achieve fame through the same trick. He got to know Grand Master Ng through a herbalist
friend. He had learned kung fu from many different schools. Every evening, he discussed and
practiced kung fu in a nearby Buddhist temple with his friends.

One day, Grand Master Ng was having luncheon with the instructor together. After lunch, they
went to the herbalist clinic. That kung fu teacher began to boast of his kung fu skills intending to
invite Grand Master Ng for a fight. It was natural to learn and improve in this way, providing all
parties observed the true spirit of martial ethics. The teacher maintained he himself was very fast
and could fling Grand Master Ng on to the ground easily. Grand Master Ng took a more cautious
and defensive approach. He then set up a “blockade” with his two fists covering the middle part
of the body while bending his waist slightly. Because of such obstruction, that instructor found it
difficult and too late to change his tactic. In the meantime, Grand Master Ng stepped forward
applying a frontal punch. It was a special punch which released force like a tensioned spring. It is
a typical Pak Mei punch. The teacher tumbled and fell by the wall. The force was so violent that
some framed picture on the wall also came down and shattered. The spectators on the spot were
startled. It took him a long while to recover. He was deeply ashamed and had to concede the
superiority of Pak Mei kung fu. It happened that Grand Master Ng was so broad-minded that he
stooped the reporters from releasing this incident. This well explains why he has won the respect
and established his position inside the kung fu circle in Hong Kong.
 Lam Hung
6th generation

Born in Hong Kong 1948

Pass on

Canada Toronto 2004 April

56 years.
 Simon Lui 7th Generation

師傅雷龍春先生出生於1957年,香港,中國.他著迷的中國武術從一個非常年輕的年齡,但
他的不幸,他的家庭並不完全支持這種做法,因為它不是“現實”.

自從在1972年搬到加拿大多倫多,師傅雷龍春先生終於能夠繼續他的人生的夢想,並開始
把自己的生活學習,掌握在各種不同功夫都參加.

黃梁師傅是他第一個拜師的,從他所學到的詠春(詠春)風格,短短幾個月,師傅雷龍春先生
再拜會洪家陸鏡榮師傅,他花了整整一年掌握這兩種技術,精煉的姿態,絕對完美.

1974年,師傅雷龍春先生在工作時不約而同地發現,一個老同事林雄）工作時身手快捷,
他肯定同事一定董些國術,經過7個月的固定,每日勸說,同事（林雄）終於邀請到他家,
從那一天起,林雄和師傅雷龍春先生成為教師和學生.

在林雄師傅的細心指導下,師傅雷龍春先生掌握白眉派風格,拳法,兵器,搏擊,醒獅及武德
, 師傅雷龍春投身到掌握這種技術,花費8個小時,每天練習,精煉和完善它.

不幸的是, 師傅雷龍春先生和他白眉派師傅林雄需要走各的路,師傅雷龍春先生前往紐約
,在那裡他有幸足以滿足虔誠的結識一個中醫師,黃師傅國威（黃國威）,他從他們那裡學
習白鶴派（喇嘛白鶴）的風格,也有許多不同的用途中草藥,在4年來,師傅雷龍春先生完
成了他的中醫藥課程,並在2年後,完成了他的課程在中藥面部和其他不同中藥治療系統,
1982年,師傅雷龍春生先開始創建自己的跌打治療,使用各種在學習課程方式,他和分析,
特別需要的病人,創造個性化的治療,這些奇異的案件.

幾年後, 師傅雷龍春先生再和他白眉師傅林雄再次見面,和他一起工作了20多年,在此期
間,師傅雷龍春先生從未放慢他的激情和不斷完善他的功夫和中國醫學療法,他還藉此機
會在很多國家旅行,企圖擴大實踐的功夫,今天,師傅雷龍春先生有數以百計的學生在加拿
大和美國,他喜歡他的知識傳播,觀看其他人活得更健康,更好的人,通過他的門下,功夫是
一種形式的運動,因為這些需要奉獻,教一門學科,該列車的身體和心靈的整體,師傅雷龍
春先生很自豪地看到一些他的學生以及他們自己的方式成為國術教練,然而,這一天,他不
涉及自己的輪胎,在每一個可能的方式下,師傅雷龍春先生以發揚我國國術及發揚中國醫
學於海外.
 32 caves are excavated in the rock
Si Fu Simon Lui was born in 1957, Hong Kong, China. He was fascinated with the practice of
martial arts from a very young age, but to his misfortune, his family was not entirely
supportive of this practice because it was not “realistic”.

Since moving to Toronto, Canada in 1972, Si Fu Simon was finally able to pursue his life‟s‟
dream and started to devote his life to learning, and mastering, the various kinds Kung Fu that
were available to him.

He was first under the tutelage of Master Wong Leung (黃梁), from whom he learned the Wing
Chun ( 詠春) style. Within a few months, Si Fu Simon also learned the techniques of Hung (
洪拳) style from Master Luk Can Wing (陸鏡榮). He spent an entire year mastering these two
techniques, refining his posture to absolute perfection.

In 1974, Simon landed a job where he coincidentally found out that an elder co-worker, Master
Lum Hung (林雄) was not only into the practice of Kung Fu, but was extremely good at it.
After seven months of constant, daily persuasion, Master Lum Hung finally invited Simon to his
home. Since that day, Master Lum Hung and Si Fu Simon Lui became teacher and student for
the next 5 years.

Master Lum Hung instructed Si Fu Simon in Pak Mei (白眉) style. Si Fu Simon devoted
himself into mastering this technique, spending 8 hours a day practicing, refining and perfecting
it.

Unfortunately, Si Fu Simon and Master Lum Hung needed to go their separate ways. Si Fu
Simon traveled to New York, where he was privileged enough to meet another devout Kung Fu
practitioner, Master Wong Kwok Wai (黃國威), from whom he learned the White Crane (喇嘛
白鶴) style, and also the many different uses of Chinese herbal medicine. Within 4 years, Si Fu
Simon completed his course in Chinese Medicine, and within the 2 years after that, completed
his course in Chinese Herb Facial and other different Chinese herbal treatment systems. In
1982, Si Fu Simon started creating his own Dit Da treatments, using the various methods learned
in the courses he took, and analyzing the particular need of the patient and creating a treatment
customized for these singular cases.

A few years later, Si Fu Simon chanced to meet Master Lum Hung again, and they worked
together for over 20 years. During this time, Si Fu Simon never slowed in his passion and
continued to refine his Kung Fu and Chinese medicinal practices. He also took the opportunity
to travel across many states in an attempt to expand the practice of Kung Fu. Today, Si Fu Simon
has hundreds of students across Canada and the United States. He enjoys spreading his
knowledge, and watching others become healthier, and better people, through his tutelage. Kung
Fu is a form of exercise which takes dedication and teaches one discipline. It trains the body and
mind as a whole. Si Fu Simon is proud to see some of his students well on their way to
becoming their own master of Kung Fu. Still, to this day, he does not tire of involving himself,
in every way possible, in the art of Kung Fu and Chinese herbology. His life‟s dream and
passion, is lived in him, through his students.
 縱 學 萬 相 無 有 英 學 學 尊
然 得 兩 逄 親 親 雄 得 仁 祖 白
癈 白 黃 不 有 無 半 武 學 尊 眉
石 眉 金 是 義 義 點 功 義 師 派
變 真 也 患 則 不 不 能 學 尊 祖
金 技 不 良 可 可 欺 守 武 武 師
磚 藝 傳 輩 傳 教 人 已 功 道 訓
詞

Honor your ancestors, your teacher and the martial principles

Learn benevolence, righteousness and then learn Kung Fu.

Those Whom master real Kung Fu will become empowered and defend one‟s self well

Heroes do not deceive, oppress or take advantage of others.

If you meet someone hom is not loyal or vituous.

You may not teach that person even for 10,000 ounces of gold.

However if a stranger is righteous and has principles, you may teach that person.

After having practiced Pak Mei Kung Fu well, one will hold great value within,

For anything you come in contact with will reflect that value, even a stone.
Rio
Rio Vaghora
Vaghora
 猛 練 暗 十 推 九 循 地 四 鞭 三 十 苦 吞 研
虎 到 藏 八 馬 步 步 煞 門 橋 門 字 練 吐 拳 白
出 爐 機 摩 行 推 繼 勤 八 搶 乃 本 功 浮 術 眉
林 火 關 變 橋 法 而 練 卦 打 是 事 成 沉 究 拳
是 純 重 化 任 猶 學 好 勢 猛 偷 扣 勁 在 拳 術
高 青 疊 多 我 凶 正 腿 如 如 打 打 觀 其 宗 口
峰 后 重 攻 宗 功 風 龍 功 術 胸 中
訣

Pak Mei Kuen on Forms

Research martial arts and research their martial ancestors.

The „Straight Step Fist‟ is for physical training on the essentials.
Which is: Swallow, spit, float and sink.
Diligent training will result in an energy fulfilled body.
The „Crucifix Shaped Form‟ is the origin of lock- striking arts.
The „3 Gates‟ form is for steal-striking (striking the unexpected areas.)
The whipping bridge and rob-strikes are fierce as a dragon.
The „4 Gates‟ form has momentum is like the wind.
Diligent training on Ground Killing form makes good foot-work.
Follow the given unorthodox and the time will come for true orthodox of Pak Mei.
The force from „9 Step Push‟ emits from the chest.
Pushing the horse (stance) and riding the bridge enables offense.
„18 Mor‟ changes (directions) using many positions (techniques).
There are hidden mechanisms (techniques/applications) layer by layer.
The achievement of training makes one‟s stone-fire‟s shine become pure.
Fierce Tiger Comes Out of the Forest form is the highest peak (level of Pak Mei.)
 白眉派功夫註解
白眉為南方內家功夫, 屬 “ 內標 ” 是以佛家禪靜和道家吐納在之修練, 從動式功夫
的帶動, 以外引內, 以柔入剛, 使人容易學習, 修練成金剛不壞之身, 能便意將 “ 內
氣引勁往外標出”, 以內剛溢發於外柔或以內柔灌注於外剛, 亦即 “ 內標 ” 功夫.

Explanation of Pak Mei Kung-Fu Theories & Techniques

Pak Mei Kuen is a kind of internal Kung Fu of southern Style, It combines the Zen
cultivation of Buddhism and the internal breathing training of Taoism. It uses the mind to
guide the Qi and drive the strength. It emphasizes the well coordination of hard and soft
strength.

白眉練功法要項

三尖 : 鼻尖, 膊尖, 腳尖.

三功 : 疊骨功, 棉花功, 鐡沙掌.
三形 : 圓( 手路 ), 扁( 身形 ), 薄( 步法 ).
四標 : 吞, 吐, 浮. 沉.
五行 : 金( 橫 ), 木( 上 ), 水 ( 下 ), 火 ( 縱 ), 土 ( 中 )
六勁 : 頸, 膊, 腰, 腹, 手, 腳, 要求六個部位整體同時發勁.
八法 : 鞭, 割, 挽, 撞, 推, 彈, 索, 盤, 衝.
馬步 : 不丁不八馬, 一字鉗陽馬, 側身鉗陽馬, 丁字馬, X字馬, 吊馬, 單蹄馬,
跪馬, 鏟馬.
步法 : 追步, 卸步, 迫步, 趲步, 三角步, 黐步, 羊尾步, 虎步.
身型 : 正身, 偏身, 矮身, 猴身, 虎背, 龍腰.
手型 : 平搥, 掌 ( 手心, 手背, 掌緣 ), 碗, 鷹爪, 虎爪, 鳳眼搥, 標指.
睜法 : 拋肘, 劏肘, 撞肘, 包肘, 魚尾肘.
膝法 : 捅膝, 撬膝.
腳法 : 撞腳, 攝腳, 釘腳, 片腳, 穿心腳, 橫撐腳, 虎尾腳, 鏟腳, 包腳, 劏腳,
掃腳, 飛身腳.
Three Tips : tips of nose, shoulder and feet.
Three kinds of kung fu : bone-folding Kung, Cotton Kung fu and Iron-sand Palm.
Three kinds of forms : round ( hand moving track ), flat ( body movement ) and thin (
step ).
Four internal techniques : swallow, spit, float, sink.
Five elements : gold ( horizontal ) wood ( up ) water ( down ) fire ( vertical ) and
earth ( middle ).
Six sources of strength : Six parts of body, the neck, shoulder, waist, abdomen, arms, and
legs, exert strength as a whole at the same time.
Eight techniques : whipping, cutting, holding, smashing, bouncing, snapping,
wrapping and pounding.
Hose stance : Bat-Ding-Bat-Ba stance, Yi-Zi-Qim-Yang stance, Ze-Shun-Qim-
Yang stance, T-shape stance, “X” shape stance, hanging stance,
single-hoof stance, kneeling stance and shoveling stance.
Steps : chasing step, discharge step, forcing step, zan step ( stepping
forward rapidly ), triangle step, chi step, ( stepping forward with
the rear foot touching and pushing the front foot ), sheep-tail
stepand tiger step.
Body Forms : upright body, learning body and lower body, monkey chest, tiger
back and dragon wasit.
Hand Shapes : Flat fist, palm ( including the centeral of the palm, the back of the
palm and the edge of the palm ) wrist, eagle-claw shape,
tiger\claw shape, phoenix-eye shape fist and biu zhi ( the thumb
bending with the other four fingers straight closely )
Elbow Techniques : Throwing with elbow, up hitting with elbow, bumping with
elbow, covering with elbow and fishtail elbow.
Knee Techniques : Poking with knee, prizing with knee.
Foot Kicking Techniques : bumping kicking ( kicking with the inner side of the foot ). Seep
kicking ( kicking with the outer side of the foot ), nail kicking,
slice kicking, towards-heart kicking, horizontal kicking, tiger-tail
kicking, wrapping kicking, up kicking, sweeping kicking and
raise-leg kicking.
 白眉 “ 吞, 吐, 浮, 沉 ”
Pak Mei “Swallow” “ Spit” “Float” “ Sink”

“ swallow, spit, float and sink” in Pak Mei are closely related with the Qi, vigor and form, as well
as the internal and external moving. Qi is the internal moving. You drive the circulation of your Qi
and blood through breathing. Vigor goes between internal moving and external. It is between the
state of storing your energy and bursting out your strength. Form means the external moving, the
controlling of your body and movements.

In moving, you shall pay more attention to the process of storing your Qi, changing it into energy
and sending it out. Your strength is to be sent out fiercely in a flash, making your opponent no
time to react. However, this internal process is hardly seen from your external movement.

The Qi, vigor and form of “swallow, spit, float and sink” are well coordinated with each other in
every moving. The Qi leads the vigor; the vigor generates the form; the form changes the vigor;
the Qi drive the bursting of strength.

吞 : 身勢向後, 藏, 含, 納, 吸氣, 像巨浪吞噬.

“吞”內在能與“氣”往內吸相配合,外在的“勢”是向內和向後收納,如漩
渦般令人墮進深淵,“形”如彎弓而重心坐中,不傾前或仰後.
武術尌是學習如何向前攻擊對不過，在白眉武術而言，這只不過是武藝內容
的一部分。
吞勁是本門一個重要課程，它是一組招式用於把對手急速『吸入來』而使他
失去作戰能力。但在實戰時，每多配合另一向前出擊招式同時使用。
簡而言之，吞勁尌是急速收縮的六勁合一，一個完美的吞勁招式應可使你
的對手有眼前一黑的感覺，頓然失去防衛的意識，若他是在這一刻被攻擊，
他所受的傷害程度必定比清醒時重得多，白眉武術本門招式很多都是根撽這
個原則而形成的。例如直步鏢指的迫馬雙抽勁、割手等便是吞勁的招式。例
如九步推的回身挽手鞭橋、四門八卦的冚手衝搥等便是吞勁同時配合直接出
擊的招式。

Swallow : with the body moving backward. Inhale. Wrap and absorb, just like the huge wave
swallowing everything.

Breathe in the Qi and coordinate with your internal moving, the outer vigor is to
absorb and draw inward and backward, the external form is to bend your upper
body, like a bow have the
center of your gravity in the middle.
 吐 : 身勢向前, 發, 放, 出, 吸氣, 像青龍吐珠.

“吐”內在將“氣”外呼排出,在外的“勢”是向外和向前發放,如弦復箭飛,
“形”體挺拨,開胸挺腰.吐勁多夾雜吞勁使用，這兩種勁的先後使用尌有若
一條彈弓被拉長或被壓縮的情況，外力消失之際，被拉的便回彈，這尌好像
是吞勁的原理，而被壓縮的便彈出，這尌好像是吐勁的原理，但吞勁不一定
頇要與吐勁配合使用。 簡單而言，吐尌是向外伸展身體各部分，尤以手腳為
主，以達到加長向前發勁的距離。其中的一個用途是把對手高速地推後，使
他失去重心向後倒地，這尌好像一個人給一輛高速行駛中的汽車撞倒似的，
若能配合身體同時急速前進(迫馬)的衝力效果便更佳。吐勁常常緊接以吞勁
化解對手的來勢及失去防禦能力的一剎那後出擊(例如九步推的吐勁雙推掌是
緊接雙抽勁之後)。

Spit : with your body moving forward. Exhale. Exert and send out, just like the dragon
spitting out the pearl.

Breathe out your Qi, the outer vigor is to burst forward and outward, just like a
shooting bow, the external form is to be upright and straight.

浮 : 身勢向上, 鬆, 昇, 虛, 吸氣, 像浮雲飄逸.

“浮”內在應“氣”往上浮,外在的“勢”是向高和向上飄升,如飛魚上水,
“形”態飄逸.
浮: (放鬆)-(儲勁)-(灌氣) 其實，身體若能處於浮或稱儲勁的狀態，是下一
個出招的最佳預備動作。浮不單止要求身體機能上的靜止，思想上亦應處於
靜止(即無特定意念)，因為在大多數的情況下對手的下一個招式是難以估計
的，除非你是熟知對手的慣用招式和作戰方式。浮與沉的完美配合對高質素
的六勁合一是不可缺少的。 但浮並非把身體所有關節完全放軟，或好像是酒
醉或熟睡般的狀態，又或者是把身體升高至直立的姿勢。它只不過是以最低
限度的力量保持上一招式的姿勢，我們稱之為灌氣，但必頇並無下一個招式
的意念。因為意念一生，身體的肌腱便會作出反應而灌勁於關節，因而拖慢
發動下一個招式的速度，及影響它發動六勁合一，因為在實戰當中，下一個
招式並不一定是套路中所規定的下一個。

Float : with your body moving upward. Be relaxed, uprising and empty. exhale. act as light as
the floating cloud.

Raise your Qi upward, the outer vigor is to move upper and higher, having the strength
rising upward, the external form is to be light and elegant.
沉 : 身勢向下, 緊, 墜, 實, 吸氣. 像高樓綁樁.

“沉”內在是“氣”往下沉於丹田,內發於外的“筋”是勁力往下墮,如雪山
崩頂,“形”如立虎.沉在白眉武術中的廣義是指吞勁的絕對集中，簡單而言
是浮的反義。在一連串的招式或攻擊中，它和浮是配合一起先後運用的，同
樣地，浮的時間越短，出招的效果便越高。如果沉勁又相應地提高，出招的
效果便更高。不斷『縮短浮的時間』和『提高沉的勁量』是把六勁合一提升
至驚扎勁的唯一途徑。若能達到，你便可終身享用這艱苦得來的成果，任何
招式於你都可轉化成絕招了。沉勁在白眉武術中的狹義，是指某些招式刻意
令對手有若突然受重物下墮之拉力而不支倒地(例如猛虎出林的沉勁索手)，
但這必雖視乎對方的來手有否灌勁，勁灌得越多墮地的速度越高，在某些招
式中沉勁是指利用本身體重下墮的重力把對方來手『壓下去』直接攻擊(例如
九步推的枕橋)。

Sink : with your body moving downward. Be tight, sinking and firm. Inhale. act like a high
building breaking down from the bottom.

Sink down your Qi to the dantian , the outer vigor is to move downward, having your
strength sink down, the external form is to lower your body, like a standing tiger.
 驚勁 : 如受火燒或針刺突然反應發出的勁.

彈勁 : 如彈簧或發條受到擠壓而反彈出來的勁.

沉勁 : 如千斤墜若沉重, 沉韌的勁.

脆勁 : 如咬餅乾時或玻璃墮地之清脆俐落的勁.

紮勁 : 瞬間由屬至緊發出的勁.

浪勁 : 接沉, 吞, 浮, 吐順序流暢所完成洶湧澎湃的勁.

此六種勁是個別或兩種共同運用,為勢態所能表現來的勁,有“ 四標為體,六勁為用 ”之謂.

Shock strength means the strength send out suddenly just like you get caught with fire or get
pricked by needle.

Bouncing strength means the strength you send out just like the tightly pressed spring
bouncing up.

Sinking strength means the heavy and firm downward strength.

Crisp strength means the neat and clear strength, just like biting the biscuit or the glass falling
down the ground.

Zha strength means the powerful strength sent out in a flash from the relaxed state to the
tightened state.

Waving strength means the powerful strength sent out smoothly in the order of sinking,
swallow, floating and spitting.

The above six kinds of strength are usually applied individually or in couple. They are
expressed by the posture. It is said that the four internal techniques of “ swallow, spit, float and
sink “ are the core essentials, while the six sources of strength are the application.
 進 : 如離弓之矢.

退 : 如脫袍讓位.

閃 : 似蜻蜓點水.

取 : 若探囊取物.

Stepping forward shall be as fast as the shooting arrow.

Drawing backward shall be general and elegant.

Dodging your opponent‟s attack shall be as light as the dragonfly touching the water.

Seizing your opponent shall be as easy as winking.

攻勢 : 進則開山劈石. 入則行雷閃電. 碰則移山倒海. 氣勢銳不可擋.

守勢 : 避也沉魚落雁. 藏也閉月羞花. 誘也蝶舞藏蜂. 意感流水行雲.

In attacking , you shall hit forward as powerful as cleaving the mountain, as swift as the lighting,
with fierce vigor.

In defending, you shall dodge your opponent‟s attack in a neat way. You could also use the fake
movement to tempt him, and fight back properly.

出手定三尖 : 自己手指尖或拳之最高點, 高度對鼻尖, 症或加對膊尖, 前面對腳尖.

Whenever you send out your movement, you shall fix the position of the three tips. The tip of
your finger or the highest point of your fist shall be at the same height of your nose. Your hand
shall also coordinate with the tip of your left or right shoulder, as well as coordinating with your
tiptoes.

白眉拳是要有最基本要求 : 包膊, 藏膊 ( 不飛肘, 不拖肘 ), 吞腰, 夾馬, 呼吸自然,

屬緊, 能發勁.
The most basic requirement of Pak Mei Kuen is to wrap your shoulder, hide your elbow, shrink
your waist and nip your stance. You shall breathe naturally. Be relaxed or tightened in the proper
time. Send out your strength fiercely.
 白眉派主勁 :
白眉功夫修練勁力, 主要有三種勁力, “韌勁””驚勁””沉勁 ” 都是於“九步推”
“ 十八摩橋“ “ 猛虎出林 ”這三套拳鍛練出來, 配合招式按序級而上, 到最後這三種
勁力並無高低之分, 相互為用.
一. “韌勁”是先從剛入手開始練, 出來的功勁只是達到似剛而非純剛, 首要修練這種稱
為“韌勁”的第一段功勁.
二. “驚功”是當日子有功便再進而向柔入手, 修練柔功, 把以前之剛硬柔化, 練出來的
功勁似柔而非純柔, 每於輕柔間突然出擊, 如受驚嚇似的, 能快蜜兼施, 亦是要收練這種
稱為驚功的第二段功勁.
三.“沉功”是將柔化了的勁繼續返過來再由剛重新修練, 因為是經過第二階段柔功的鍛練,
所以再練剛時便容易獲得至剛的成果.當此第三階段功勁猛虎出林練成, 所產生之勁力是非
常沉重的, 常人難以抵禦, 可遇強愈強, 以剛克剛, 而無堅不摧.
雖然已循序修練至第二階段上乘功勁, 此亦並非白眉功夫之最高境界. 但若沒有經過從剛
處柔化出來的鍛練, 便難於達到那種似剛實柔, 似柔實剛, 剛柔並濟之勁, 得心應手之效.

Training of three kinds of strength :

The training of strength of Pak Mei kung fu is quite systematical. There are mainly three kinds of
strength : flexible strength, shock strength and sinking strength. The above strength could be
trained in the set routines of Kao Bo Tui, Sup Bat Mor Kiu, and Mang Foo Chut Lum too, These
three kinds strength are trained step by step with coordination of set movements. In the highest
stage, each of the strength is as equal advanced as the other.
1. Flexible Strength : the obtaining of flexible strength begin with training of hard strength. This
strength seems like hard, but not pure hard. This is the first stage.
2. Shock Strength : after you have trained the hard strength for a long time, turn to train the soft
strength. This is to soften the hard strength you have trained before. This strength seems soft, but
not pure soft. In practice, send out the strength in a flash in a soft and relaxed state, just like you
are being shocked in a sudden. This is the second stage.
3. Sinking Strength : train the soft strength into hard strength. Through the training of second
stage of soft strength, it would easier for you to train the advanced hard strength. When you finish
the training of the third stage, your strength would very heavy, firm and thick, which could make
your opponent hard to resist. The more
powerful opponent you are fighting with, the fiercer your strength could be.
Finishing the three stages of strength training does not mean you have reached the Pak Mei Kung
Fu. However, if you do not go through the training of hard and soft strength, you could not apply
your strength flexibly at your will with well coordination of the softness and hardness.
 拳訣 :
軟如綿, 硬如鐡, 韌如攞命藤纏身, 柔似水, 剛如刀, 黏似麥芽糖黐手, 有影無形眼便花, 有形無
影心自亂如蔴, 他若來得忙, 塞手有提防, 他若來得捷, 橫肘兼打額, 容人( ) 舉手, 舉手( )容人,
有橋橋上過, 無橋底下穿, 一得師, 二得練, 三要打人手( ) 善.

Pak Mei Kuen kung fu could be as soft as cotton, as hard as iron and as flexible as the rattan
wrapping the body. It could also be as gentle as water, as rigid as sword and as sticky as malt
sugar. If you have only movement traces but no actual forms, your movements are only nice-
looking but not powerful enough to hit the opponent. If you could act fast enough to have only
movement forms without any traces, you will make your opponent confused and be afraid of you.
If your opponent attacks you in a hurry, you could protect yourself with skillful hand movements.
If he attack in a swift manner, raise your elbow horizontally and hit his forehead. If you don‟t
want to hurt your opponent, do not send out your hand. If you have send out your hand, beat your
opponent down till he is unable to fight back. If your opponent sends out his bridge hand, you
could attack him through the bridge. If he does not send out the bridge hand, you could attack him
under his hand. To obtain true kung fu, you must follow a wise and accomplished teacher, practice
very hard, and apply your skills into actual fighting powerfully.

“白眉腰馬膊”緊蜜相連,上,中,下二盤相接, 當中最要有放鬆或鎖緊來配合.
“腰”分正身壓, 左右側壓, 左右旋起旋落.
“馬” 由腳趾, 膝蓋, 胯所組合而變.
“膊”有夾, 撕, 旋, 包, 壓.
力從地起, 由腳趾而起, 至足踝, 膝蓋, 臀, 腰, 背, 膊, 睜, 腕, 指, 每發出一記有勁度的招式, 需
要全身各關節來配合, 到短時間的一致, 才能完美.

In Pak Mei Kuen, the waist, stance, shoulder and arm are closely related with each other. They
shall coordinate with each other by relaxing or tightening according to different situation.

The “waist” acts like the axis of body movement. You could press and shrink your waist from the
front and from the side. You could also turn your waist leftward, rightward, downward and
upward agily like a screw.

The “stance” means the combination of your feet, knees and crotch, and its changes.

The “ shoulder” contains techniques of nipping, tearing, revolving, covering and pressing.

Your strength shall be generated from your feet, then reach your ankles, knees, buttocks, waist,
shoulder, arms, elbow, wrists and fingers. When you send outevery movement with strength, you
shall coordinate all the joints of your body and make them act at the same time, so that your
strength exerting could be perfect.
 白眉氣與勁 :

“勁從氣走, 氣隨意走”“以意導氣, 貫氣引勁”皆為白眉武學之真髓. 白眉拳是以呼吸來操控氣

血之平衡與運行, 這樣才能把握勁度的發揮, 一切都是基於意的運行, 才能收到完美的效果.
氣與勁都能由呼吸操控, 氣順則神聚, 神聚則威形迫外, 氣斂於內, 勁藏於中. 若我們能急速將
大量氧氣吸進體內丹田, 此處部位雖然細小而飄渺, 但能容納大量發勁之元素,“氣”, 令他在
過細小空間度被壓縮產生而成一股氣壓, 在體內“丹田”轉化成能量, 遍走於全身, 如經過鍛練,
便能夠控制它走向局部或於出招時順著手, 腳而走. 當身體肌肉放鬆時, 便是”氣”於體內運行
最暢通的時候, 身體各關節及神經因此能最快捷和最敏銳地操作. 如當肌肉收緊時, 便是血液
在血管內, 因受肌似於體內箍迫, 令血管收窄, 於是血管做產生一種液壓, 而當到達目標一瞬
間, 忽然將身體肌肉收緊, 可以每血液壓縮而令身體肌硬, 繼而達致無堅不握之境界. 蓋氣壓
能令速度加快, 液壓能令勁力加強,
對武術而言, 是會起著非常重要的作用.

On the Qi and Strength of Pak Mei :

It is the essence of Pak Mei Kuen to “guide your Qi by your mind and drive your strength by your
Qi”. In Pak Mei Kuen, it uses the breath to control the balance and circulation of Qi and blood.
Every movement is based on the guiding of your mind. Qi and strength are control by the
breathing. When the Qi runs smoothly, the spirit will gather; then you will have powerful vigor in
the movements. Concentrating the Qi in your body, you could store your strength inside it. In
moving, you shall train to be able to rapidly breathe in large amount Qi into your dantian.
Compress the Qi and turn it into energy and run it around your whole body. Through proper
training, you could control the running of your Qi. When your muscles are relaxed, the Qi could
run inside your body most smoothly. At that time, the nerves are most sensitive, and you could
move your joints most quickly. When you tighten your muscles, your blood vessels will get
narrower, which will cause hydraulic pressure to the blood in the vessels. Through training, you
could apply such phenomenon into Kung Fu to enhance your strength. When you are about to
reach the hitting point of your body opponent, tighten your body in a sudden to make your body
blood compressed, so as to make your body hard and strong. Therefore, you will be in favorable
position in actual fighting. Pressure in the Qi could speed up your action. Pressure in the blood
could enhance your strength. These are very important factors in practicing martial art.
 白眉剛與柔 :

剛像 ”關山劈石, 勢如破竹”, 柔若 “殘荷迊風, 浮雲映水” 要著人而具殺傷力的功夫, 必要有

剛之元素, 關鍵在於此種剛在體內, 由形成至停留有多久, 若單純剛則呆滯, 即這剛過早開如
形成或形成後停留時間太久, 不免被譏作死力而論之. 但若無一點剛力, 只有如燈芯擊在豆
腐般而兩者皆無損, 蓋人與天地萬物皆然, 過剛易折, 過柔易屈, 能處兩者其中, 取中庸之道
為之 “韌” . 需要剛, 需要柔還是需要韌, 要自我操縱得時, 隨機待勢而變才合用.

練武者追求至高境界, 常言是要鬆柔, 但忽略了剛的元素, 事物是有正反兩面的, “陰陽, 剛

柔, 曲直, 偏正, 鬆緊, 順逆” 等. 尌給人之呼和吸, 單一不可, 缺少了便不是中國功夫所要求,
也不能達到我們所獲得的最好狀態.

白眉所運用的剛, 多由氣勁瞬間灌注而生, 甚少由肌力持續所成, 慎重明明辨之, 當進攻時,

則勢如猛虎, 撼動山河, 神凝氣聚, 先良奪人, 是謂勁之剛, 當防守時, 其綿蜜無隙, 不著邊
際, 浮雲掩月, 來去無蹤, 是謂勁之柔, 故運用時需 “剛柔” 並濟.

On the Hardness and softness of Pak Mei :

“ Hard ” is as powerful as cleaving the stone and chopping the bamboo.

“ Soft ” is as light as wind blowing the lotus and the floating cloud.

If you want to hurt your opponent heavily, you shall obtain the hard strength. The key point is how
long this hard strength stays inside your body. If it is pure hard, the strength would be stiff. If it
stays too long inside the body after it is generated, the strength would be rough, On the opposite,
If you only have soft strength without any hard factor, you would not hurt your opponent to the
point. Every thing has both the negative side and positive. The balance of them could get you into
the best state. Therefore, in Pak Mei Kung Fu you shall combine both hard and soft and
coordinate them properly. This is called the flexible strength. You could apply the strength flexibly
according to actual situation. When you are attacking, you shall emphasize on the hard strength, to
hit your opponent powerfully. When you are
defending, be soft and light, making your opponent hard to beat you down.
 白眉鬆與緊 :

發勁時有如發出有如爆炸之威力, 是在於能一瞬間將“緊束”釋放出來, 或相反地由 “鬆弛”

狀能一瞬間束緊而產生. 白眉發勁尌由如迫擊炮一樣, 是有兩個爆炸點.
一: 出招時爆炸, 是發出時必需放鬆或緊而放鬆把手飛射而出.
二: 到達目標時的爆炸, 是中擊敵人時一刻才收緊.

鬆有別於柔, 緊亦如是不同於剛, 鬆與緊是可以將思想和筋肌達到鬆弛和緊張, 是用在

瞬間的, 鬆是可出擊, 柔能卸力, 緊可加強力量之集中和反繼力, 剛能達到你堅不摧,
鬆與緊, 剛與柔盡管有著太多的共同點, 但於內標白眉功夫拳理內, 需要細微辨析,
不能一概而論, 對敵時應該運用 “柔”或“韌”的力度對應, 但當著擊敵人到短時的
一刻, 必以至剛的一擊發於其身上.

On the Relaxing and Tightening of Pak Mei :

Exerting strength is just like explosion. The explosive power could be burst out in a flash in the
state of “relaxing” or “tightening”. There are two bursting points of exerting strength in Pak
Mei Kuen :

1: is to explode when you start to move, and you shall send out your hand quickly in a relaxed
state, or in a state of from tightening to relaxing.

2: the other is to explode when you reach the hitting target of your opponent.

Relaxing is different from softness, while tightening is also different from hardness. Relaxing
and tightening could bring your mind and muscles to the state of relaxation and tension at one
moment. In a relaxed state, you could send out your attack. In a soft state, you could move
away your opponent‟s coming power. In a tight state, you could enhance the gathering of your
strength and subsequence power. In a hard state, you could wound anything. Through there is
lots of commonness in relaxing and tightening, soft and hard, you shall distinguish them
carefully in Pak Mei Kuen. In fighting with your opponent, you should exert the hardest
strength of your whole body and beat him down.
行馬 踏進白眉派第一步

每逄新學員入門, 都由師傅直接教授第一步 “ 行馬 ” 前左腳向前踏步, 後腳緊隨踏上

成角型, 雙手义腰, 墜 夾膊, 勒胸吞腹, 全身放鬆. 師傅說 : 眼要向前望, 不管馬步
行得對不對, 也不能望其它方向, 否則會養成壞習慣, 師傅看到你行錯, 自然會糾正. 要
假設敵人在前面, 要勇往直前. 轉身時要用腰, 馬和膊迅速擰轉, 後腳如蛇行般穿步而上,
對敵時便可閃身穿步封迫敵人. 熟練了馬步後, 便開始學白眉基本勁, “ 直步 ” 當有
馬步基礎, 到了學 “ 直步 “ 時便不會顧得手而顧不了腳. 白眉派開摏是用左手五指握
拳, 右手拇指內扣, 四指直豎, 緊貼在左拳眼之上來敬禮, 名為 “ 五湖四海 ” 這是祖
師傳下來之獨特敬禮方式, 即五湖四海皆兄弟之意. 祖師們穿洲過省掛單化緣, 遇過很多
英雄義士, 土該惡霸, 每每看見不公平之事, 唯以德服人, 非迫不得已, 亦不會用武力來
把事情擺平, 因此而結下眾多善緣, 武林豪傑見了這開摏手法, 皆會認識.

Basic Skill of Walking Horse Stand Movement

At the beginning, any new student join the Pak Mei Pai have to practice the horse stand
movement first, The front foot stepped forward, with the rear foot stepped followed
immediately. The whole body shall be relaxed with arms akimbo. The shoulders shall be
drooped, arms nipped, chest hidden and abdomen shrunk. Master Cheung instructed, “ The eyes
shall look forward, no matter your walk the stance right or not. Never look downward. Advance
forward bravely as if your opponent is in front of you. I will correct you if you do it in a wrong
way. “ In turning the body, you should use your waist, legs and shoulders to shift quickly. Your
rear foot should step forward neatly just like an agile snake. When you were facing your
opponent, you could dodge your body and step forward to force close to him. After I had
practiced the walking horse stand well, I began to learn the basic routine of Pak Mei Kwan, The
Jik Bo Kuan.
 “ 直步 “ 是基礎鍛練吞, 吐, 浮, 沉, 呼吸, 鬆緊, 勒胸吞腹, 沉肘落膊, 迫
步, 轉身及腰, 馬, 膊, 肘, 腕之發力 : 對藏肘要求需兩肘不離肋 ( 飛肘), 不
直 過肋 ( 拖肘 ), 也重視指爪力和索勁的鍛練:
步 六指勁 : 頸, 膊, 腰, 腹, 手, 腳, 整體齊發, 齊收, 陰陽互易, 配合指, 爪,
拳, 掌的發勁, 像來福線般旋轉直射而出. 雖然是重複又重複得標指, 穿心搥,
迫步和揪橋, 但是對於鍛練直力, 橫力, 螺旋力及關節發勁尤為重要. 以往前人
吞 單是練 “ 直步 ” 便要練足一年, 才可學習其他套路. 此 “ 直步 “ 雖然是
吐 白眉的基本拳套, 亦是動式之內氣勁, 內裏包含著本門精要, 需學者長年摸索和
浮 參透, 可謂練到老時學到老.
沉
詩曰 : 直步拳訣是練功. 不致老來一場空. 左右連環齊發功. 吞吐浮沉在其中.
原馬推步要提肛. 落馬氣沉頇蘊藏. 若要入門尋此技. 需從直步下功夫.

Jik Bo Kuen was a fundamental routine that trained many essential contents of Pak Mei Kuen.
These contents contained swallow, spit, float and sink, as well as the breathing, softness and
tightness, requirements of the chest, abdomen, elbow and shoulders. It also trained the stance,
body movements, and the strength exerting of the combination of the waist, stance, shoulders,
elbow and wrists. In practice, the elbow shall be close to the flanks and shall not exceed the
flanks. It also emphasized on the training of strength of the fingers. The strength shall be sent out
with the well combination of the neck, shoulders, abdomen, waist, hand and legs as a whole at
the same time, with the coordination of the fingers, claws, palms or fists. I this set routine, the
repeated practice of different hand techniques was very important to train various kinds of
strength and using the joints to burst strength. In the past, learners had to practice the Jik Bo
Kuen for onee year before learning futher routines. Though it was a basic routine, the Jik Bo
Kuen cintained most of the essential theories and techniques of Pak Mei Kuen, which required
the practitioners to train continuously and frequently.

Jik Bo Kuen Formula Describing

Jik Bo Kuen is for practicing Pak Mei art. Otherwise you will get nothing when you old. Exert
your strength on the left and right at the same time. Swallow, spit, float and sink are within. In
stepping forward with hores stance, you shall elevate your anus. In landing your stance, you
shall sink down your qi and hold it constant. You shall study the Jik Bo Kuen very hard to
master such techniques.
1. 見禮 (五湖四海) Salutation (5 lakes 4 seas)
Ging lai (Ng wu sei hoi)
2. 開樁 (分橋) Open post/stance (Splitting bridges)
Hoi jong (fun kiu)
3. 標指 Darting Fingers
Biu ji
4. 箭槌 (直拳) Arrow Punch (Straight fist)
Jin chui (Jik kue)
5. 上步揪拳 (彈) Advance step to wrenching fist (spring)
Seung bo chau kuen
6. 過腳背劍 Cross leg to back sword chop
Gwoh geuk bui gim
7. 撻橋 Whipping bridge
Dot kiu
8. 上步標指 Advance step to darting fingers
Seung bo biu ji
9. 箭槌 (直拳) Arrow Punch (Straight fist)
Jin chui (Jik Kuen)
10. 上步揪拳 Advance step to wrenching fist
Seung bo chau kuen
11. 過腳背劍 Cross leg to back sword chop
Gwoh geuk bui gim
12. 撻橋 Whipping bridge
Dot kiu
13. 橫勁 (擸手) Side power (grabbing hands)
Waang ging (lap sau)
14. 收樁 Close post
Sau jong

Number of horse walking can be repeated.

 見禮 (五湖四海) 倒轉陰陽
Ging lai (Ng wu sei hoi)

開樁 (分橋) 標指
Hoi jong (fun kiu)

箭槌 (直拳) 上步揪拳 (彈)

Jin chui (Jik kue) Seung bo chau kuen
 標指 箭槌 (直拳)
Biu ji Jin chui (Jik kue)

上步揪拳 (彈) 過腳
Seung bo chau kuen Gwoh geuk

背劍 撻橋
bui gim Dot kiu
Repeat picture 5 ,6 ,7

過腳
Gwoh geuk

背劍 撻橋
bui gim Dot kiu

收樁
橫勁 (擸手)
Sau jong
Waang ging (lap sau)
 十字拳不出於流氓教的功夫, 是張禮泉宗師未修白眉門之前所學. 他將這門派最
好最實用的一套拳番著, 以記念其最初之林石師傅, 故又名 “ 石師拳 ”. 張
禮泉宗師將白眉派本門的發勁方法和腰馬適量地滲入其中, 加以改良, 列入白眉
十 派拳衝教程之中, 十字拳的特色是以鷹扣擸, 配合攻擊手來應付敵人, 尤擅肘擊,
字 適合貼身短打, 能應付四方八面而來的敵人, 也可應每人多的掌行套路. 較 經
拳 典招式有扣擸, 分橋, 燕子伏樑, 拋肘, 撞肘, 包肘, 魚尾肘, 獅子搖頭, 背搥,
碎橋, 冚手沖搥, 羅漢曬獅, 跪馬削竹, 疊耳懷等. 練法以正身, 偏身, 一字拑
陽馬, 側身拑陽馬, 丁字馬, 吊馬, 跪馬為主 : 手法多用短橋, 鷹八和肘, 練
跳紮. 這套拳打來要快蜜, 發勁時用腰要鬆, 馬步要靈活, 膊為動力, 拉弓引箭,
利用腰和馬轉動時所產生之離心力, 給箭在弦將手掟出, 應每人多群鬥尤為適用.
若以一敵眾, 在走位與招式上是頗具風格, 能攻善打恰好是這套拳的特色, 學習
這套十字拳, 招式簡單易明, 頗為實用, 即學已可用於戰上.

After any students had trained the postures and angles to the point, had to continued to study Sap
Gee Kuen, which Maste Cheung lai Chuen learned from Master Lin Shi before he enteres the
Pak Mei Style, Master Cheung had integrated the strength exerting

method and the usage of waist and stance of Pak Mei Kuen into Sap Gee Kuen, The
characteristic of Sap Gee Kuen was to use eagle-claw hand teachniques to lock and seize the
opponent. Its elbow hitting was very powerful and could fight with a group of opponents from
all directions. This set routine was suitable to fight with a group of opponents in short distance.
Its horse-riding stances contained Bu-Ding-Bu-Ba stance, Yi-Zi-Qim-Yang stance, Ze-
Shun_qim-Yang stance, T-shape stance, hanging stance and kneeling stance, It mainly used short
bridge hand, eagle-claw hand teachniques and elbow hitting . In practice, you shall send out aas
many movement as possible quickly in a flash. You stance shall send be agile and firm. Use your
waist to exert strength. Send out your hand just like shooting arrow. This set routine was suitable
for fighting with group of people. It was simple and easy to learn. At the same time, it was very
practical. You could put it into actual usage once you learned it.
 十字扣打
Sup Gee Kau Da
Crucifix Pattern Knock-Striking Form

見禮 (五湖四海) Ging lai (Ng wu sei hoi) Salutation 5 lakes 4 seas

*(-)盤馬插花Chap Fa ~ Dai Pang *Chap Fa Salutation to dai pang is taken out.

鷹爪扣拿 Ying jow kau na Eagle Claw knocking grab

箭槌 (直拳) Jin chui (jik kuen) Arrow hammer/punch

上馬分橋 Seung ma fan kiu Advance horse stance to splitting bridges

包踭 Bao Jaang Over the top elbow strike

三角馬扣槌 Som gok ma kau chui Natural triangle stance to knocking strike

退馬撐掌 Tui ma sing jeung Retreat horse to prop-opening palm

箭槌 (直拳) Jin chui Arrow punch

上馬軟掌 Seung ma yuen jeung Advance horse with arc to soft palm

退馬分橋 Tui ma fen kiu Retreat horse to splitting bridge

上步標指 Seung ma biu ji Advance step to darting fingers

退馬(吊)揪拳 Tui ma (diu) chau kuen Retreat to hanging horse wrenching fist

起右腳 Hei yau geuk Raise to right front kick

*(-) 燕子伏橋Yin ji bou leung (taken out) *(-) Sparrow eats (taken out)
雙虎爪 Seung fu jow Double tiger claw

擔肘 Daam jaang Carry-over-the-shoulder elbow strike

橫馬橫肘 Waang ma waang jaang Side facing side elbow

進馬拉手 Jun ma lap sau Advance horse to grab
*(-) 摩踭 Moh jaang taken out *(-) Rubbing elbow taken out

上步背槌 Seung bou bui chui Advance step to back forearm butt

上步揰拳 Seung bou chung kuen Advance step to shooting uppercut

轉身吊馬鷹爪扣拿 Juen san “ding” Turn body to eagle claw

*逼步直拳 Bik bou taken out

箭槌 (直拳) Jin chui Arrow punch

上步交手 Seung bou kau sau Advance step to turn-over strike

退步撐掌 Tui ma sing jeung Retreat horse to propping-out palm

箭槌 (直拳) Jin chui Arrow punch

分橋 Fan kiu Splitting bridge to press

過腳背劍 Gwoh geuk bui gim Cross leg to back knife-chop

轉身伏掌Juen san fook jeung Turn body and roll to controlling palms
(substitute for fing sau gwai ma)

起腳 Hei geuk Raise leg to right kick

平馬直拳 Ping ma jik kuen Horse stance to side punch

揪拳 chau kuen Wrenching fist

轉身吊馬 Juen san diu ma “ding” Turn body to hanging horse eagle claw
*(-) 揈手跪馬 連鐶踢腿 fing sau, gwai ma & lin *omit flinging low block, kneeling stance &
waan tek tui linking kicks
Repeat 2-30 for opposite direction.

上步箭槌 Seung bou jin chui Advance horse to arrow/straight punch

退馬(吊)揪拳 Tui ma (diu) chau kuen Retreat back to hanging horse wrenching fist

背劍 Bui gim Look back to back-sword chop

齊眉 Chai mei Look forward to neck chop

收樁 Sau jong Pull in to close

 見禮 (五湖四海) Ging lai 鷹爪扣拿 Ying jow kau na (直拳) Jin chui (jik kuen)
(Ng wu sei hoi)

上馬分橋 Seung ma fan kiu 包踭 Bao Jaang 三角馬扣槌 Som gok ma kau
chui

退馬撐掌 Tui ma sing jeung 箭槌 (直拳) Jin chui 上馬軟掌 Seung ma yuen jeung
 退馬分橋 Tui ma fen kiu 上步標指 Seung ma biu ji 退馬(吊)揪拳 Tui ma (diu)
chau kuen

起右腳 Hei yau geuk 雙虎爪 Seung fu jow 擔肘 Daam jaang

*(-) 燕子伏橋Yin ji bou leung
(taken out)

橫馬橫肘 Waang ma waang 進馬拉手 Jun ma lap sau 上步背槌 Seung bou bui chui
jaang *(-) 摩踭 Moh jaang taken out
上步揰拳 Seung bou chung 轉身吊馬 Juen san “ding” 上步揰拳 Seung bou chung
kuen kuen

上步交手 Seung bou kau sau 退步撐掌 Tui ma sing jeung (直拳) Jin chui

分橋 Fan kiu 拍腳撐掌 過腳背劍 Gwoh geuk bui gim

轉身伏掌Juen san fook jeung 海底撈月 起腳 Hei geuk
(substitute for fing sau gwai
ma)

平馬直拳 Ping ma jik kuen 揪拳 chau kuen 轉身吊馬鷹爪扣拿 Juen san

“ding”

Repeat Picture
From 3 to 32

轉身吊馬 Juen san ding” 上步箭槌 Seung bou jin

chui
退馬(吊)揪拳 Tui ma (diu) chau 背劍 Bui gim 齊眉 Chai mei
kuen

收樁 Sau jong
 2011

Jik Bo Kuen & Sap Gee Kuen

Contact

Information

Sifu Simon Lui

Tel : 612 567-8302

Form Set or Weapons Set

Video or Book you can order online